Evolution of Turkish Movie Cluster: A Social Network Analysis Perspective

Beyhan, Burak; Erkiliç, Hakan

doi:10.4305/metu.jfa.2020.2.9

Cited by 2 publications

(1 citation statement)

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“…There are several papers conducting network analysis in the film studies literature, for a range of purposes, including exploring a film industry (Kim, Cho, and Hong 2014; Lorenzen and Täube 2008;Neuberger 2020), concentrating on individuals' role in a particular setting (Senekal 2014;Senekal and Stemmet 2014), examining gender inequality in film industries (Verhoeven et al 2020), analyzing consumer choices (Yahav 2016), relating creativity to networks of social relationships (Cattani and Ferriani 2014), and showing funding structures of films (Miller 2011). However, we have identified only one paper using network analysis in the Turkish film literature, in which Beyhan and Erkılıç (2020) analyzed the spatial clustering of the Turkish film industry through network analysis, relating their findings to the life cycles of the industry. They suggest that the emergent life cycles of the Turkish movie cluster can be traced "in the volume and quality of the social interactions experienced between agents in the network" (Beyhan and Erkılıç 2020:210).…”

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confidence: 99%

Mapping Yeşilçam: A relational approach to the Turkish film industry

Şavk

Doğu

2021

cinej

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Turkey’s Yeşilçam film industry produced more than 5500 films during its lifetime of 40 years. The industry had a unique narrative approach shaped around its economic model, Turkey’s ambivalent connection with modernization and the country’s domestic culture. Yet, particular characteristic qualities of the industry remained rather limited up until the last decade, in which vast databases were built up as a consequence of the digital turn. In this study, we develop a relational approach and conduct network analysis to the Yeşilçam with the aim to better understand the patterns of its constitution. Our findings suggest that Yeşilçam was not a homogenous industry as often considered by the film scholarship, rather divided into two main clusters in which professional, narrative and financial dynamics were significantly different.

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